The Most Beautiful Music Of Hawaii - George Greeley

 

Beyond The Reef

The Most Beautiful Music Of Hawaii
The Piano Concerto Impressions of George Greely
With the World Famous Warner Bros. Orchestra and The Outriggers
Conducted by Ted Dale
Produced by Alvino Rey
Cover Photo by Tommy Mitchell
Vitaphonic High Fidelity
Warner Bros. W1366
1960

From Billboard - February 9, 1963: Dentist Now Employ Music To Drill By

Music dealers can now add dentists as prime prospects. United Stereo Tapes, the tape subsidiary of Ampex Corporation, has entered the audio analgesia field, releasing quarter - track stereo tapes for use by dentists to relax patients and alleviate pain.

A primary requirement is music pain-killing is to have sound reproduction as noise-free as possible. Therefore, each of the tapes prepared for this use are made directly from the first-generation master tape. Each package provides up to an hour's music, and is recorded in 3 3/4 four track i.s.p. cartridges or in reel-to-reel from, listing at $19.50 each.

The initial Audio Analgesia release consists of four pages. The play-back system used allows the patient to control the volume to his liking.

As an example of the type of music to pull teeth without discomfort, the initial release consists of: "The Most Beautiful Music Of Hawaii" and "The Most Records Songs Of All Time," George Greeley and Buddy Cole; "Have Organ Will Swing" and "Cole Plays Cole," Buddy Cole; "Waltz In Stereo" and "I'm In The Mood For Strings," David Rose and Ray Ellis; "The Sound Of Music" and "Moon River," the Pete King Chorale.

Beyond The Reef
My Little Grass Shack In Kealakekua
Hawaii
Hawaiian Wedding Song
King Kamehameha
Blue Hawaii
Hawaiian War Chant
Song Of The Islands
Malihini Mele
Sweet Leilani
Lovely Hula Hands
On The Beach At Waikiki
Aloha Oe

Porgy And Bess - George Rhodes

 

Summertime

Porgy And Bess

Arranged and Conducted by George Rhodes

Recorded December 1958

AAMCO Records

A Division of Alison Enterprises, Inc.

1959

From the back cover: George Rhodes too, wanted to have his interpretation be, "all of one piece," and so he carefully selected exactly the musicians and singers he wanted. In the band, the trumpets are Reunald Jones, Sr. (lead); Ray Copeland (open solos); and Taft Jordan (the muted and growl work). Trombones include Elmer Crumbley and Richard Harris, who took most of the solos. In the reed section were: George Dorsey, alto and flute; Reuben Phillips, alto; Seldon Powell, tenor; and Heywood Henry, baritone. All doubled on clarinet. In the rhythm section were George Rhodes, piano; Herbie Lovelle, drums; and alternating on bass were Joe Benjamin and Bill Pemberton. Arranger-pianist George Rhodes has played with Arnett Cobb, Joyce Bryant, Jonah Jones, Sammy Davis, Jr., and was freelancing before he joined the staff of Aamco Records.

Outstanding in this album are Rebecca Hall, (heard recently in the successful Aamco album, A Tribute To Bessie Smith), and Carnegie Burruss. Rebecca, or Becky to her friends, displays a warmth and feeling for lyric in this album rarely found in vocalists today. Carnegie possesses the ability to run the tremendous emotional scope needed in this demanding work of Gershwin.

From Billboard - May 8, 1959: Still another bid for the sales on "Porky and Bess." This disk, arranged and conducted  by George Rhodes features vocals by Rebecca Hall and Carnegie Burruss. The off-beat musical interpretation may help capture the sales for this version.

Summertime 

A Sometime Thing
My Man’s Gone
I Got Plenty Of Nothing
Bess You Is My Woman Now
Boat Leaving
My Bess
It Ain’t Necessarily So

The World Is A Circle - Franck Pourcel

 

The Things Of Life

The World Is A Circle
Franck Pourcel
Produced by Robert Colby
Paramount Records PAS-6047
Distributed by Famous Music Group
1973

The World Is A Circle
Imagine
Ben
Mammy Blue
Blue Bach
The Time Of My Song
Popcorn
The Things Of Life
Song Sung Blue
Love Theme From "The Godfather"
The No-Color Time Of The Day

Countdown - Time In Outer Space - Dave Brubeck

 

Castilian Blues

Countdown
Time In Outer Space
The Dave Brubeck Quartet
This Album is Dedicated to Lieut. Col. John H. Glenn, Jr.
Columbia Records CS 8575
1967

From the back cover: Countdown - Time In Outer Space is the third in a series of recordings devoted to exploring rhythms unusual in jazz. The realization of (1) improvised cross-rhythms and (2) a broadened rhythmic-base for jazz was preceded by twenty years of planning, training and test runs through countless unrecorded choruses.

Dave Brubeck has exerted a great deal of influence on American jazz. I can remember when the early Dave Brubeck records on Fantasy were a great source of stimulation to me in breaking into new areas of "serious" jazz music.

Also from the back cover: The Dave Brubeck influence has reached the four corners of the earth, and now is finding new dimensions. Great musicians are following Dave Brubeck's experience in new time mediums, in different time signatures – 3/4, 5/4, 7/8, 11/4 – heretofore hidden dimensions in jazz. It seems that the next step in influence will be from polyrhythms (shifting of the accents on different tempos of the beat in any given bar), to polytempos (different tempos at the same time – here exemplified in the Brubeck Time In Outer Space). You can see and feel the new direction in the complicated but swinging rhythms of Dave Brubeck, Joe Morello and Gene Wright, beneath the florid style of Paul Desmond. – Teo Marcero

From Billboard - May 5, 1962: This new album by the Dave Brubeck Quartet should be another smash for the group both in jazz and pop fields. In the manner of "Time Out" and "Time Farther Out," this album shows off Brubeck's jazz experiment in polyrhythms and polytempos. And it is all done with persuasive and exciting performances by Brubeck, Paul Desmond, Joe Morello and Gene Wright. Most of the tunes are originals, mainly by Brubeck and Desmond with best tracks "Someday My Prince Will Come" and "Eleven Four."

Countdown
Elven Four
Why Phillis
Someday My Prince Will Come
Castilian Blues
Castilian Drums
Fast Life
Waltz Limp
Three's A Crowd
Danse Duet
Back To Earth

Teenage House Party - Sandy Nelson

 

Teen Age Party

Teenage House Party
Sandy Nelson
Imperial High Fidelity LP 12215
1962

From the back cover: "I'm (Nelson) very pleased with the reception people give my music," says the soft-spoken young percussionist who is destined, in the opinion of critics, to become the world's greatest drummer.

When he does, it will be altogether fitting and no surprise to his family since Sandy springs from a lineage that has much greasepaint coursing through the vies of its family tree. His mother' great grandfather was a concert violinist in Europe and another branch of his kin were Danish circus people.

The yen to perform sprang early in Sandy's life. Born in Santa Monica, California, he was only seven when his parents took him to see Gene Krupa play at a Los Angeles theatre. The tremendous display of rhythm and flashy percussion offered by the then-world's greatest drummer made an enormous impact on young Sandy. He asked Santa Claus to bring him a set of drums for Christmas – and when the kindly old gent in the red suit and whiskers complied, he couldn't have known that he was helping launch the career of a young man destined to supplant Krupa at the top of the tympani tribe.

In addition to developing his proficiency at the paradiddle, Sandy also branched out into the study of piano and, while attending University High School in Los Angeles, embarked on a professional musical career. His first job was with a teenage band playing at parties and rock 'n' roll shows, then graduating to sitting in on recording sessions with The Teddy Bears and Gene Vincent.

House Party Rock
Hearts Of Stone
Let The Four Winds Blow
Tweedle Dee
Let The Good Times Roll
Feel So Good
Day Train
Night Train
Limbo Rock
Junior Jive
Dumplins
Teen Age Party

Move Up - Rev. Willingham

 

Won't It Be A Good Time

Move Up

Rev. Willingham

Produced for Nashboro Records by Shannon Williams

Recording Engineer: Lee Carrol Hazen

Recorded in Woodland Sound Studios

Graphics and Art Direction: Aesthetics, Inc.

Nashboro Records STEREO 7099

1971

We Shall Know Him

Prayer For 1971

I Have To Tell Jesus

Sleep On Mother

Won't It Be A Good Time

Move Up

See How They Done My Lord

Come Dance With Me! - Frank Sinatra

 

Too Close For Comfort

Come Dance With Me!
Frank Sinatra
Billy May and His Orchestra
Produced by Dave Cavanaugh
Capitol Records SW 1069
1959

From Billboard - January 19, 1959: Another sock package from the boss of them all. Except for the last tune in the set, "The Last Dance," all of the numbers are in a bright, swinging' vein. He's never sounded better, and Billy May's fine ork backing is also tops. Good cover shot and excellent sound are additional assists. A natural for big coin.

Come Dance With Me
Something's Gotta Give
Just In Time
Dancing In The Dark
Too Close For Comfort
I Could Have Danced All Night
Saturday Night
Day In, Day Out
Cheek To Cheek
Baubles, Bangles And Beads
The Song Is You
The Last Dance

Million Or More! '75 - Kings Road

 

Lucy In The Sky With Diamonds

Million Or More! '75
Kings Road
Pickwick International, Inc. SPC-3537
1975

Mandy
Do It ('Til You're Satisfied)
Lady Marmalade
Back Home Again
Pick Up The Pieces
Loving You
Please Mr. Postman
Fire
Lucy In The Sky With Diamonds

Nimble Fingers - Lawrence Welk

 

Lullaby Of Birdland

Nimble Fingers
Lawrence Welk and His Champagne Music
Instrumental Fox Trots
Coral Records High Fidelity CRL 57178
1957

From the back cover: Lawrence Welk has been on the American Musical scene for thirty years. An amiable, soft spoken man in his early fifties, Lawrence formed his first band in 1927. Consisting of six pieces it made its way from Barn dances to square dances and community gatherings throughout the midwest. In 1938 the Lawrence Welk orchestra, larger in size and prestige, was booked into the William Penn Hotel in Pittsburgh. This proved to be the turning point for Lawrence and his orchestra as he was allowed to play his music over the Mutual Broadcasting Network twenty times a week. For the first time he had a coast-to-coast audience and a loyal legion of Lawrence Welk fans were born.

After years of playing in America's top flight hotels, supper clubs and ballrooms, the Lawrence Welk orchestra, settled on the West Coast and made the famous Aragon ballroom its headquarters. When his performances began being televised to west coast audiences in 1951, it aroused very favorable comment, and resulted in his winning his current ABC program. The network show started with a modest rating, but with the acclaim from critics and viewers, its audience increased rapidly. Today, "The Lawrence Welk Show" is rated head and shoulders above its national competitors.

From Billboard - September 16, 1957: With Lawrence Welk continuing to reign close to the top of the TV and pop album sales heap, it's fair to predict that this package can pull down its share of loot along with the rest. This time, Welk himself is spotlighted as an accomplished accordionist backed up by the band. Arrangements are typical on a danceable group including "Dardanellam," "Doll Dance," etc. Put this where it can be seen and it will sell by itself.

Dardanella
Nimble Fingers
Flapperette
Nola
Dainty Miss
Keyboard Serenade
Lullaby Of Birdland
Rag Doll
Doll Dance
The Wedding Of The Painted Doll
Dancing Tambourine
Holiday

Concord Super Band In Tokyo

 

Nuages

Concord Super Band In Tokyo
2-Record Set
Produced by Carl E. Jefferson, President, Concord Jazz, Inc.
Recording Engineer: Yoshihisa Watanabe
Remix Engineer: Phil Edwards
Photography: Kinjiro Miyazaki
Cover Design: Kaoru Kato
Recorded at Tokyo Yubin Chokin Hall September 15, 1979
Concord Jazz, Inc. CJ-80
1979

From the inside cover: The Concord All Stars, headed by Carl Jefferson, President of Concord Jazz, gave their opening concert at Tokyo's Yomiuri Hall on September 8, 1978. Only Monty Budwig and Jake Hanna had visited Japan previously, Monty with Benny Goodman and Jake in the rhythm section of Super Sax and later with Zoot Simms. The rest of the group, Ross Tompkins, Cal Collins, Warren Vache and Scott Hamilton, were known to their Japanese fans solely by virtue of their recordings on the Concord label. As the band took the stage amidst thunderous applause, many in the audience expressed surprise to see Scott Hamilton without his trademark dark glasses, looking more like a diplomat than a saxophonist. But when he began to play in his distinctive lush style, there was no mistaking his vocation. A near-capacity crowd of jazz enthusiasts and music critics (including some specialists in rock music) was rewarded with the kind of outstanding playing we have come to expect from Hamilton, in addition to equally skillful performances by Warren Vache, Cal Collins and Ross Tompkins, none of whom had ever appeared in concert in Japan. After the show, many in the audience, still flushed with excitement generated by the Super Band adjourned to nearby coffee houses to discuss the stirring performance they had witnessed.

From Billboard - March 10, 1979: Taped in Tokyo last September the band comprises Scott Hamilton, Warren Vache, Cal Collins, Ross Tompkins, Monty Budwig and Jake Hanna. Repertoire includes 11 jammable standards spread out over four LP sides, all of it attractively packaged. Hamilton on tenor (he is 24) continues to impress as one of the most exciting soloists in recent years but there are few dull spots in the entire presentation. Best cuts: "Blue Lester," "Blue Lou," "Don't Blame Me."

I Would Do Anything For You
Blue Lester
Nuages
Don't Blame Me
Blue Lou
You're Driving Me Crazy
Blue And Sentimental
I'm Gonna Go Fishing
Sleepy Time Down South
Take The "A" Train
Undecided